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Switch to: References
Citations of:
Aesthetics and subjectivity: from Kant to Nietzsche
New York: Manchester University Press (1990)
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ArgumentDarwin's narrative of the earthquake at Concepción, set within the frameworks of Lyellian uniformitarianism, romantic aesthetics, and the emergence of geology as a popular science, is suggestive of the role of the sublime in geological enquiry and theory in the early nineteenth century. Darwin'sBeaglediary and later notebooks and publications show that the aesthetic of the sublime was both a form of representing geology to a popular audience, and a crucial structure for the observation and recording of the event from the (...) |
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This article examines the respective interpretations of the Arrernte tribe of central Australian Aborigines adopted by the English biologist Baldwin Spencer and the German missionary Carl Strehlow. These interpretations are explored in relation to the broader theoretical debates in the theory of myth that took place in England and Germany in the latter half of the 19th century. In Britain, these debates were initially shaped by the comparative philology of F. Max Müller, before being transformed by the evolutionism of Edward (...) |
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This paper explores Nietzsche's account of the free spirit's genesis, as primarily given in the 1886 prefaces written for the works of his ?free spirit trilogy?. In particular, it will focus on how what will be argued is the free spirit's distinguishing capacity for radical questioning is created out of the process described there. That is, it will examine how what Nietzsche calls, ?the experience of sickness?, in enabling the free spirit's liberation, helps forge a mode of philosophical awareness which (...) |
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Nietzsche presents a challenging conception of aesthetics. One of the most well-known discussions on this issue is presented by Heidegger in Der Wille zur Macht als Kunst. In discussing Nietzsche’s aesthetic theory, Heidegger argues that Nietzsche’s reception of Kantian aesthetics is only ever indirect and necessarily mediated by Schopenhauer. His conclusion hinges on what he considers to be a widespread misinterpretation of Kant’s theory of the beautiful, a misinterpretation that begins with Schopenhauer but characterizes all of Kant’s followers, especially Nietzsche. (...) |
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This article makes visible some of the premises that underlie Rosi Braidotti’s use of (political) myth. Focusing on some well-known characteristics of postmodernity, as well as the development of a new philosophy of subjectivity, I account for the divergence between Simone de Beauvoir, who thought of myth as a severe hindrance to the subject-becoming of women, and postmodern feminists, such as Donna Haraway and Braidotti, who represent a more affirmative stance. Through pinning down both similarities and differences between Haraway and (...) No categories |
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According to Friedrich Schlegel: “The Romantic imperative demands [that] all nature and science should become art [and] art should become nature and science”; “[P]oetry and philosophy should be made unified”, and “life and society [should be made] poetic”. The aim of this paper is to explain why Schlegel believes that this is an imperative that constrains philosophy and ordinary life. I argue that the answer to this question requires that we regard the Romantic imperative as a response to the skeptical (...) |
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El ensayo examina el carácter crítico de la ironía romántica de Friedrich Schlegel siguiendo las consideraciones y apropiaciones de Walter Benjamin, Harold Bloom y Paul de Man. También, el ensayo pretende mostrar el paralelismo de la actitud crítica de la ironía con tres figuras literarias románticas: el esteta, el dandy y el âneur. Estas criaturas, unidas por una fe profética en el arte, hacen de la ironía una profesión que se mueve entre la creación y la destrucción. La apropiación en (...) No categories |
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This paper considers the problem of a narrative philosophy according to F. W. J. Schelling and narrative logic according to Franklin Ankersmit. Referring to these examples, I ask whether there is any philosophy to narrative at all. First, I discuss Schelling’s views from his unfinished work “The Ages of the World,” as well as his later dialectics of mythology of revelation from the system of the ages of the world. I focus on a dialectics of figurative and speculative order, which (...) |
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T. W. Adorno's philosophy of music aims to show that music is a source of important insights into the nature of modern society. This position leads, though, to a series of methodological difficulties, some of which can be alleviated by using resources from Heidegger's hermeneutics. The essay takes the key notion of `judgementless synthesis' from Adorno's unfinished book on Beethoven and connects it to Heidegger's account of pre-propositional under-standing and to Kant's notion of schematism. This connection is shown to have (...) |
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The entry aims to explain a core feature of otherwise different variants of romanticism: the commitment to “the primacy of aesthetics.” This commitment is often expressed by the claim that the “aesthetic”—most broadly that which concerns beauty and art—should permeate and shape human life. The entry proposes that this romantic imperative should be understood as a structural or formal demand. On that reading, the romantic imperative requires that we model our epistemological, metaphysical, ethical, political, social and scientific pursuits according to (...) |
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The growing appreciation of the global environmental crisis has generated what should have been a predictable response: those with power are using it to appropriate for themselves the world’s diminishing resources, augmenting their power to do so while further undermining the power of the weak to oppose them. In taking this path, they are at the same time blocking efforts to create forms of society that would be ecologically sustainable. If there is one word that could bring into focus what (...) |
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Music theory has to reinvent itself. Century-long paradigms have to be revisited, and recent terminologies and concepts coming from other fields of music have to find room within the traditional frameworks, particularly in connection with electronic music. In this work, I make an attempt at depicting a framework that might turn useful to further advancements in music theory, by representing the relation between electroacoustic and traditional musics within a scenario dominated by the Philosophy of Language. The Philosophy of Language is (...) No categories  |
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In this article, I wish to show that Kaufmann was right, when he claimed that “nobody has ever found a better characterization of Nietzsche” than his own, when he talked about the “music-making Socrates” in the Birth of Tragedy. Firstly, I make some general remarks on the Birth of Tragedy. Secondly, I analyse Nietzsche’s understanding of music in the Birth of Tragedy. Thirdly, I describe the particular conception of “Socrates” as Nietzsche develops it in The Birth of Tragedy. Lastly, I (...) No categories |
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This dissertation deals with the tragic vision that motivates certain key aspects of Theodor W. Adorno’s philosophy. While in the formative early work, the Dialectic of Enlightenment, co-written with Max Horkheimer, the tragic views are clear, in later works, such as the Aesthetic Theory and the Negative Dialectics, they are only implicit. The study reconstructs the tragic vision found in the Dialectic of Enlightenment and uses it as a key to understand Adorno’s mature philosophy. A tragic vision is born when (...) No categories |
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